The Big Green Tent epitomizes what we think of when we imagine the classic Russian novel. With epic breadth and intimate detail, Ludmila Ulitskaya’s remarkable work tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted, fragile pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for individual integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, a love of Russian literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. A man and his wife each become collaborators, without the other knowing; an artist is chased into the woods, where he remains in hiding for four years; a researcher is forced to deem a patient insane, damning him to torture in a psychiatric ward. Ludmila Ulitskaya’s novel belongs to the tradition of Dostoevsky, Tolstoy, and Pasternak: it is a work consumed with politics, love, and belief—and a revelation of life in dark times.

August 1991. In a sweltering New York City apartment, a group of Russian émigrés gathers round the deathbed of an artist named Alik, a charismatic character beloved by them all, especially the women who take turns nursing him as he fades from this world. Their reminiscences of the dying man and of their lives in Russia are punctuated by debates and squabbles: Whom did Alik love most? Should he be baptized before he dies, as his alcoholic wife, Nina, desperately wishes, or be reconciled to the faith of his birth by a rabbi who happens to be on hand? And what will be the meaning for them of the Yeltsin putsch, which is happening across the world in their long-lost Moscow but also right before their eyes on CNN? This marvelous group of individuals inhabits the first novel by Ludmila Ulitskaya to be published in English, a book that was shortlisted for the Russian Booker Prize and has been praised wherever translated editions have appeared. Simultaneously funny and sad, lyrical in its Russian sorrow and devastatingly keen in its observation of character, The Funeral Party introduces to our shores a wonderful writer who captures, wryly and tenderly, our complex thoughts and emotions confronting life and death, love and loss, homeland and exile.

One of Russia’s most renowned literary figures and a Man Booker International Prize nominee, Ludmila Ulitskaya presents what may be her final novel. Jacob’s Ladder is a family saga spanning a century of recent Russian history—and represents the summation of the author’s career, devoted to sharing the absurd and tragic tales of twentieth-century life in her nation. Jumping between the diaries and letters of Jacob Ossetsky in Kiev in the early 1900s and the experiences of his granddaughter Nora in the theatrical world of Moscow in the 1970s and beyond, Jacob’s Ladder guides the reader through some of the most turbulent times in the history of Russia and Ukraine, and draws suggestive parallels between historical events of the early twentieth century and those of more recent memory. Spanning the seeming promise of the prerevolutionary years, to the dark Stalinist era, to the corruption and confusion of the present day, Jacob’s Ladder is a pageant of romance, betrayal, and memory. With a scale worthy of Tolstoy, it asks how much control any of us have over our lives—and how much is in fact determined by history, by chance, or indeed by the genes passed down by the generations that have preceded us into the world.

The twelfth installment in the beloved, bestselling series is once again a beautiful blend of wit and wisdom, and a profoundly touching tale of the human heart. Precious Ramotswe is haunted by a dream in which she is driving her dear old white van. Grace Makutsi dreams that her 97 percent on the Botswana Secretarial College exam was a mistake. When Mma Ramotswe discovers that her van is actually still in use (and, of course, sets out to retrieve it), Mma Makutsi wonders whether her dream will turn out to be prophetic as well. They can only wait and see, but, in the meantime, one of Phuti Radiphuti's apprentices has gotten a girl pregnant and, under pressure to marry her, has run away. Naturally, it is up to Precious and Grace to help the couple work things out. In other developments, Mma Ramotswe investigates a case of rural jealousy in which cattle are being poisoned. Add to the mix Violet Sephotho's newly begun, already unstoppable run for the Botswana Parliament and the possibility that wedding bells may finally ring for Phuti Radiphuti and Grace Makutsi — whose love for each other is as great as their love for Botswana — and we have a charming and delightful tale from the inimitable Alexander McCall Smith.

'This world in which we have so much difficulty living is filled with misunderstanding at every level.' What can one man do, faced with such a world? Daniel Stein, Interpreter explores the lives of those affected by some of the worst conflicts of the twentieth century, from survivors of the ghetto and escapes of Soviet oppression to those caught up in the violence of the Arab-Israeli conflict. All of them have one thing in common: their lives are touched by Daniel Stein. Stein is a Polish Jew, who miraculously survives the Holocaust by working for the Gestapo as an interpreter. After the war, he converts to Catholicism, becomes a priest, enters the Order of Barefoot Carmelites, and emigrates to Israel. Despite this seemingly impossible progression, the life and destiny of Daniel Stein are not an invention – the character is based on the life of Oswald Rufeisen, the real Brother Daniel. Feeling his life has saved in the war for a reason, Stein dedicates himself to bringing understanding and reconciliation to a violent world, in his own compassionate and irreverent way. In an age of increasing mistrust between faiths, Daniel Stein, Interpreter serves as a timely and nuanced exploration of what it might mean to really try to understand each other. Staggering in scope, Daniel Stein, Interpreter is already seen by many as the great Russian novel of our time. Winner of the Russian National Literary Prize and the Prix Simone de Beauvoir, Ludmila Ulitskaya has earned accolades abroad for this courageous work, at last available in English. 'A feat of love and tolerance.' The Washington Post 'Ludmila Ulitskaya arrives here not just as a shrewd novelist, but as a wise and evocative artist.' The Philadelphia Inquirer 'A fascinating work . . . Achieves the height of virtuosity.' Le Monde

Drawing on newly declassified government files, this is the dramatic story of how a forbidden book in the Soviet Union became a secret CIA weapon in the ideological battle between East and West. In May 1956, an Italian publishing scout took a train to a village just outside Moscow to visit Russia’s greatest living poet, Boris Pasternak. He left carrying the original manuscript of Pasternak’s first and only novel, entrusted to him with these words: “This is Doctor Zhivago. May it make its way around the world.” Pasternak believed his novel was unlikely ever to be published in the Soviet Union, where the authorities regarded it as an irredeemable assault on the 1917 Revolution. But he thought it stood a chance in the West and, indeed, beginning in Italy, Doctor Zhivago was widely published in translation throughout the world. From there the life of this extraordinary book entered the realm of the spy novel. The CIA, which recognized that the Cold War was above all an ideological battle, published a Russian-language edition of Doctor Zhivago and smuggled it into the Soviet Union. Copies were devoured in Moscow and Leningrad, sold on the black market, and passed surreptitiously from friend to friend. Pasternak’s funeral in 1960 was attended by thousands of admirers who defied their government to bid him farewell. The example he set launched the great tradition of the writer-dissident in the Soviet Union. In The Zhivago Affair, Peter Finn and Petra Couvée bring us intimately close to this charming, passionate, and complex artist. First to obtain CIA files providing concrete proof of the agency’s involvement, the authors give us a literary thriller that takes us back to a fascinating period of the Cold War—to a time when literature had the power to stir the world. (With 8 pages of black-and-white illustrations.)

For many people, the circus, with its clowns, exotic beasts, and other colorful iconography, is lighthearted entertainment. Yet for Greg Renoff and other scholars, the circus and its social context also provide a richly suggestive repository of changing attitudes about race, class, religion, and consumerism. In the South during the nineteenth and early twentieth centuries, traveling circuses fostered social spaces where people of all classes and colors could grapple with the region’s upheavals. The Big Tent relates the circus experience from the perspectives of its diverse audiences, telling what locals might have seen and done while the show was in town. Renoff digs deeper, too. He points out, for instance, that the performances of these itinerant outfits in Jim Crow-era Georgia allowed boisterous, unrestrained interaction between blacks and whites on show lots and on city streets on Circus Day. Renoff also looks at encounters between southerners and the largely northern population of circus owners, promoters, and performers, who were frequently accused of inciting public disorder and purveying lowbrow prurience, in part due to residual anger over the Civil War. By recasting itself as a showcase of athleticism, equestrian skill, and God’s wondrous animal creations, the circus appeased community leaders, many of whose businesses prospered during circus visits. Ranging across a changing social, cultural, and economic landscape, The Big Tent tells a new history of what happened when the circus came to town, from the time it traveled by wagon and river barge through its heyday during the railroad era and into its initial decline in the age of the automobile and mass consumerism.